2. 2 1er octobre 2011TCPM Lille

3. Recording sessions Editing Mixing Mastering Post-productionProduction Album 8 tracks 1 st piece 2 nd piece 3 takes 3 1er octobre 2011TCPM Lille

4. 4 1er octobre 2011TCPM Lille

5. 5 1er octobre 2011TCPM Lille

6. 6 1er octobre 2011TCPM Lille

7. 7 1 Christoph Cox and Daniel Warner (Eds.) Audio Culture Readings in Modern Music. New York: Continum publisher (2004), p.118 2 Idem p.113 1er octobre 2011TCPM Lille

8. 8 Record producer, directeur artistique, réalisteur, Tonmeister 1er octobre 2011TCPM Lille

9. Record producer AudiencePerformers Aesthetic choices, specific recording approaches Listenin g Hennion, A. (1989). An intermediary between production and consumption – The producer of popular-music. Science Technology & Human Values, 14(40), 400-424. Hennion, A. (1981). Les professionnels du disque: une sociologie des variétés. A.-M. Métailié. Unknown and massive skills 9 1er octobre 2011TCPM Lille

10. 10 1er octobre 2011TCPM Lille

11. Pras, A., Guastavino, C. (2011). The role of music producers and sound engineers in the current recording context, as perceived by young professionals,” Musicae Scientiae, vol. 15(1), pp. 73-95. Guidance, Aesthetic context, Criticism and optimization, Extra set of ears Create a good atmosphere, Allow trust and honesty, Unite all people, Help focusing Involved and creative; Not controlling

12. 12 1er octobre 2011TCPM Lille

13. Artistic Direction Communication skills Interaction between producer and musicians 13 1er octobre 2011TCPM Lille

14. Get the best possible performance Aesthetic context GuidanceFeedback -Technicality: First make sure it’s on tune and together Comparison with a cleaning lady -Musicality: Watch for intensity and energy up Proposing concepts, making suggestions Helping them find an interpretation Work in collaboration with artists The producer = an additional musician Extract the best possible performance from the musicians Reveal the most intimate part of the artists’ interpretation Comparison with a mid-wife Les emmener ailleurs 14 Understand the the project Listen first what the artists are bringing to us Balance between standard and reality Sentences in italic = quotes from interviews Words in red = comparison with other professions 1er octobre 2011TCPM Lille

15. Madonna by Leonardo da Vinci - detail 15 1er octobre 2011TCPM Lille

16. 16 1er octobre 2011TCPM Lille

17. 17 1er octobre 2011TCPM Lille

18. 18 1er octobre 2011TCPM Lille

19. RealityTruth Jacket of Dark Side of the Moon by Pink Floyd 19 1er octobre 2011TCPM Lille

20. 1 Neuenfeldt, K. (2007). Learning to listen when there is too much to hear: Music producing and audio engineering as engaged hearing, Media Inter. Australia, vol. 123, pp. 150-160. 2 Porcello, T. (2004). Speaking of Sound, Soc. Studies of Science, vol. 34(5), pp. 733.

22. 22 1er octobre 2011TCPM Lille

23. Culshaw set design for his 1960 recording of Wagner’s Tristan and Isolde. Courtesy of Decca Music Group. Patmore, D., & Clarke, E. (2007). Making and hearing virtual worlds: John Culshaw and the art of record production, Musicae Scientiae, 11(2), 269-293. Act I Act II Act III 23 1er octobre 2011TCPM Lille